In the original version of the opening, almost all of the riot scene is covered by ‘Burnin and Lootin’. I thought I would take a different approach, having only a short section covered by my music, with the rest being synced with foley. This feels necessary, as I wouldn’t want to have the majority of my project be simply music. By redoing this section of the movie as foley, I can incorporate more elements & techniques learned in class. 

I feel  my mix of the riot scenes should reflect what is happening visually. The director uses archival footage of riots in Paris that has a grainy, distorted texture, with quick visual chops between clips. These textures as well as the fast peace of the montage I reflected in my arrangement on mix.

I thought of each clip as its own individual scene. For each clip, I combined my street foley recordings, different impact sounds, and layered vocals, footsteps and other sounds where necessary. Each scene got its own group bus, which had distortion, eq and compression on it. By doing this, I was able to give each clip a different sonic identity and texture, tying the visual and sonic together.

REVERB

For some foley elements, they required some reverb to feel cohesive with the ‘space’ surrounding them. I found this was most noticeable on things such as impacts, voice and footsteps. To solve this, I inserted an instance of Logic’s “space designer” and sought out a small dense reverb, repeatedly testing it on necessary elements in the full mix. Once I had this set up, it was very easy to send all needed elements to the same reverb, further ‘gluing’ the audio together.